DOCSLIB.ORG

New Works by Pierre Soulages to Go on View in New York City in an Exhibition Spanning a Celebrated Career

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
New Works by Pierre Soulages to Go on View in New York City in an Exhibition Spanning a Celebrated Career NEW WORKS BY PIERRE SOULAGES TO GO ON VIEW IN NEW YORK CITY IN AN EXHIBITION SPANNING A CELEBRATED CAREER Pierre Soulages 24 April – 27 June 2014 Dominique Lévy and Galerie Perrotin 909 Madison Avenue New York City Opening Reception: Thursday, 24 April, 6-8 PM New York, NY…Beginning April 24th, 2014, Dominique Lévy and Galerie Perrotin will jointly present Pierre Soulages, the first American exhibition in ten years devoted to the most significant and internationally recognized living artist of France. The show will fill the historic landmark building at 909 Madison Avenue where both galleries reside, presenting a group of new large-scale paintings that reveal the rigor and atemporal power of a 94-year old master known as “the painter of black and light.” Born in 1919, Soulages is among the few artists still at work from the explosive postwar period when New York City emerged as the center of the art world, the place where American innovation and European traditions collided and coalesced into a new dominant school of gestural painting. By juxtaposing Soulages’ revelatory recent paintings with a group of his important postwar works, Pierre Soulages will highlight profound interconnections between Europe and America in modern and contemporary art while challenging certainties on the subject. On view through June 27th, Pierre Soulages introduces fourteen recent paintings from the artist’s ongoing Outrenoir series – metaphysically potent canvases with slashing black architectonics -- alongside seminal works created in the 1950s and 60s, all on loan from major museums and important private collections. During the years following World War II, Soulages exhibited extensively in America, establishing friendships with New York peers Mark Rothko, Willem de Kooning, Robert Motherwell, and Helen Frankenthaler, among many others. His work thrived in the U.S. market, championed by James Johnson Sweeney, director of the Solomon R. Guggenheim Museum (previously curator at The Museum of Modern Art), and by legendary gallerist Sam Kootz. Perhaps it was Soulages’ feeling of belonging to no particular city or country that aided his success: He has said his only real language “was that of modern art,” and his undiminished fascination with that language continues to shape Soulages’ paintings today, enabling him to transmit light with black. Pierre Soulages is accompanied by a catalogue featuring an interview with the artist by Hans Ulrich Obrist, and essays by John Yau and Alain Badiou. The exhibition coincides with the opening in late May of the Musée Soulages in Rodez, France, the artist’s birthplace. The new museum complex will extend the public presence of Soulages’ art in the Aveyron area of the Midi-Pyrénées region of Southern France, where in 1994 he completed a celebrated cycle of stained glass windows at the 8th century Romanesque Abbey-Church of Sainte-Foy in Conques. Encompassing 104 unique compositions in translucent glass, Soulages’ windows at Stainte-Foy are today considered an art pilgrimage destination. Opening a Mental Field: About The Exhibition In the 1940s, Pierre Soulages made abstract works predominately in black, which he has described as “both a color and a non-color.” He produced his first mature paintings in 1947, applying walnut stain in heavy brushstrokes on a light ground. In 1948, America came knocking unexpectedly at his door in the form of James Johnson Sweeney, who was intrigued by talk in Paris of a painter who worked in broad black marks. By the mid-1950s, Soulages was painting with looser, slashing brushstrokes and began incorporating fluid, subtle washes of color. He exhibited actively in New York and other cities in the United States, becoming part of a community of Abstract Expressionist artists channeling the spirit of the age into painting. Represented by the Kootz Gallery, Soulages attracted critical acclaim and drew the attention of avid private and museum collectors across the United States. His participation in Documenta I, II, and III (in 1955, 1959, and 1964, respectively) brought international recognition. But when Kootz Gallery shuttered in 1966, Soulages returned fully to Europe and to the next phase of his career. In 1979, having already painted for over thirty years, Soulages made a dramatic break with his existing style and embarked upon a new approach to painting that he dubbed Outrenoir (the word outrenoir can be translated loosely from French as beyond black). By removing other colors and concentrating almost exclusively on black and its relationship with light, Soulages constructed a pictorial space that nevertheless stands opposed to the monochrome in the development of Modern art. Since this remarkable and deceptively radical mid-career shift of direction, Soulages has been exclusively devoted to Outrenoir and in it has located the locomotive of his output. Through Outrenoir he envisions a type of painting that can offer an immersive experience to the viewer, one that draws people in and engages them in the array of textures that light and shadow create on canvas. “When light is reflected on black, it transforms and transmutes it,” Soulages once said. “It opens up a mental field all of its own.” Thus Outrenoir has been a continuous 35-year investigation into abstraction’s power to reorganize visual and psychological experience. Across the 1980s and 90s, and into the 21st century, and carrying the experience of postwar breakthroughs toward the present, Soulages has continued his investigation into the potential of gestural blackness. Works from Outrenoir have become part of the history of art, joining major museum collections in North America, Europe, Russia, and Asia. Fourteen new paintings from this grande série, made between late 2012 and early 2014, will serve as the centerpiece of Pierre Soulages. Soulages has stated that his only desire has been to achieve the kind of pictorial presence he found in the caves of Lascaux and the menhirs of his birthplace, Rodez. The confident experimental strokes of the earlier works on view in Pierre Soulages reveal themselves as part of a clear progression toward Outrenoir’s evocations of chiseled stone, dark landscape and desiccated flesh. Among key examples on view in the exhibition are pictures form the 1950s, bearing the artist’s signature titles derived from the dimensions of his works – paintings such as ‘Peinture 195 x 130 cm, 2 juin, 1953’ (1953) and the beautiful ‘Peinture 195 x 130 cm, 1955’ (1955), which is on loan to the exhibition from the National Gallery of Art in Washington, D.C. Soulages’ most recent paintings align him still with American Abstract Expressionism and the well-known American artists who were his postwar peers – figures who also built upon memories and biographical pre-occupations. For example, de Kooning never lost touch with his Rubensian women, nor did Clyfford Still lose his vivid connection with the Pacific Northwest and Canadian landscapes. There is a similar narrative undercurrent to Soulages’ newest work. Large-scale recent paintings on view in Pierre Soulages, including ‘Peinture 128 x 181 cm, 14 février 2012’ (2012), ‘Peinture 181 x 162 cm, 26 janvier 2014’ (2014), and ‘Peinture 293 x 165 cm, 23 décembre 2013’(2013), hint at memories of a hardscrabble youth spent in rural wartime France, in the harsh and beautiful country that is the Aveyron area. Such references are reduced by the artist’s brush to an extreme clarity that in turn suggests the transformation of suffering into transcendence. About the Artist In the duration and agelessness of his career, Pierre Soulages is an anomaly: He is a peer of Mark Rothko, Willem de Kooning, Barnett Newman and other the titans of postwar Abstract Expressionism, and yet is working alongside such significant present-day figures as Mark Grotjahn, Wade Guyton, and Christopher Wool. Since his first retrospective exhibition in Hanover, Germany in 1960, Soulages' oeuvre has been exhibited internationally without interruption, most recently with a major 2009 retrospective at the Centre Georges Pompidou in Paris as well as retrospectives at the Museum of Fine Arts, Houston; Museo de Arte Moderno, Mexico; Kunstmuseum, Berne; Seibu Museum of Art, Tokyo; Museum Fridericianum, Kassel; IVAM-Centro Julio González, Valencia; Musée d'Art Contemporain, Montréal; and the National Museum of Contemporary Art, Seoul. In 2001, Soulages became the first contemporary artist to be exhibited at the Hermitage Museum in Saint Petersburg, Russia. A highlight of Soulages’ career came in 1986 with a commission from the French Ministry of Culture to create a cycle of stained glass windows for the Romanesque Abbey-Church Sainte-Foy in Conques, France. What Soulages achieved at Conques, over a grueling eight-year period ending in 1994, is nothing less than a total work of art. With the authorities’ decision to re-conceptualize all the windows, the church was purged of its World War II memories, for the windows had been filled by neo-medievalist scenes commissioned in the 1940s under Marechal Petain’s collaborationist government at Vichy. Soulages’ overall scheme effectively liberated the church’s astonishing architecture and transformed it into a site-specific installation. In the glass he developed for this project, Soulages found the perfect translucent vehicle – in essence, a transmogrified twosided painting – that, as a soft and ever changing grey-white, is equally legible from inside and outside the church. In the 104 windows he created for Sainte-Foy, Soulages rendered a battery of straight and
Load more

Recommended publications
  • The Greatest Artists of the Twentieth Century
    This PDF is a selection from a published volume from the National Bureau of Economic Research Volume Title: Conceptual Revolutions in Twentieth-Century Art Volume Author/Editor: David W. Galenson Volume Publisher: Cambridge University Press Volume ISBN: 978-0-521-11232-1 Volume URL: http://www.nber.org/books/gale08-1 Publication Date: October 2009 Title: The Greatest Artists of the Twentieth Century Author: David W. Galenson URL: http://www.nber.org/chapters/c5785 Chapter 2: The Greatest Artists of the Twentieth Century Introduction The masters, truth to tell, are judged as much by their influence as by their works. Emile Zola, 18841 Important artists are innovators: they are important because they change the way their successors work. The more widespread, and the more profound, the changes due to the work of any artist, the greater is the importance of that artist. Recognizing the source of artistic importance points to a method of measuring it. Surveys of art history are narratives of the contributions of individual artists. These narratives describe and explain the changes that have occurred over time in artists’ practices. It follows that the importance of an artist can be measured by the attention devoted to his work in these narratives. The most important artists, whose contributions fundamentally change the course of their discipline, cannot be omitted from any such narrative, and their innovations must be analyzed at length; less important artists can either be included or excluded, depending on the length of the specific narrative treatment and the tastes of the author, and if they are included their contributions can be treated more summarily.
    [Show full text]
  • Pierre Soulages, Du Noir À La Lumière
    FICHE THÉMATIQUE DÉPARTEMENT D’art Moderne Les œuvres précédées de ce logo font partie des collections du musée. « outrenoir pour dire : au-delà Pierre SouLageS, du noir une lumière reflétée, transmutée par le noir. outrenoir : du noir à La LuMière noir qui, cessant de l’être, devient émetteur de clarté, de lumière dès le début de sa carrière, Pierre Soulages explore les différentes secrète. outrenoir : un champ possibilités du noir. L’artiste joue de son contraste avec un fond clair, mental autre que celui du l’associe à une autre nuance ou en décline les textures pour faire naître simple noir. » des reflets changeants. Cette couleur et la lumière qui en surgit rythment Pierre Soulages, « Les Éclats du noir », entretien avec sa création. Pierre Encrevé dans Beaux Arts Magazine, hors-série, Paris, mars 1996. Contraint par le contexte d’après-guerre encore marqué par la pénurie, Pierre Soulages voit dans la technique du brou de noix une solution peu coûteuse pour explorer librement les qualités du noir. Cette œuvre présente un signe noir sur fond blanc qui apparaît de manière immédiate et frontale. Les traces de pinceau sont visibles, mais ne cherchent pas à reconstituer le geste du peintre ou ses émotions. Le coup de brosse ne montre que son propre effet sur la toile : l’avènement d’une couleur profonde, opaque ou transparente selon les superpositions. Pierre Soulages, Brou de noix sur papier 60,5 x 65,5 cm, 1947, brou de noix sur papier, Lyon, musée des Beaux-Arts La couleur noire recouvre presque intégralement la toile qu’elle n’épargne que par de rares percées.
    [Show full text]
  • Pierre Soulages Au Musēe Fabre
    PIERRE SOULAGES AU MUSĒE FABRE Etre confronté au travail de Pierre Soulages, notamment ici, au Musée Fabre, est une expérience esthétique forte où la séduction et la prégnance de la peinture se couplent d’un questionnement sur les enjeux de ce travail. Une tension s’opère immanquablement entre le mutisme apparent de certaines œuvres, en particulier les grands Polyptyques, noirs, absolument et radicalement noirs, et le discours qui se dégage néanmoins d’elles, qui parlent à notre sensibilité mais aussi à notre esprit. “ Ma peinture est un espace de questionnement et de méditation où les sens qu’on lui prête peuvent venir se faire et se défaire ". 1 Pour aborder le travail de Pierre Soulages, il apparaît nécessaire de faire quelques rappels sur l’histoire du noir, de la naissance de l’art à aujourd’hui, afin d’évoquer ses rôles, plastique et sémantique, et ses interprétations au fil du temps, puis de tenter de cerner la pratique de l’artiste dans son contexte historico-théorique pour dégager les spécificités et les singularités qui sont les siennes. Cette analyse autour des notions espace/ rythme/ matérialité/ lumière nous conduira ensuite à envisager avec précision l’accrochage du Musée Fabre pour faire émerger finalement quelques pistes pédagogiques. PETITE HISTOIRE DU NOIR De la Renaissance au XIXème siècle L’histoire du noir commence dans les grottes, lieux largement connus et appréciés de Pierre Soulages, où la figuration surgit aux détours d’anfractuosités avec des tracés de charbon ou de terre. Ce noir des peintures pariétales, profond et minéral, est un noir souvent graphique, noir de dessin plutôt que noir de surface.
    [Show full text]
  • The Art Bulletin
    THE ART BULLETIN A Quarterly Published by the College Art Association September 2012 Volume XCIV Number 3 Contents Volume XCIV Number 3 September 2012 Regarding Art and Art History: Unexplained RICHARD SHIFF 339 Notes from the Field: Contingency LINDA CONNOR, GIOVANNA 344 BORRADORI, MARCIA BRENNAN, MARY Al'<N DOAl'lli, ANGUS FLETCHER, PETER GEIMER, GLORIA KURY, MARK LEDBURY , C. BRIAN ROSE, FRANCES SPALDING, CHRIS SPRING Interview "A \.Vay Must Be Found to Broaden Our Perspective": James Ackerman in Conversation with Cammy Brothers CAl\fMY BROTHERS 362 Articles Iconoclasm as Discourse: From Antiquity to Byzantium ]AS ELSNER 368 Iconoclasm was an attack on the real presence of the depicted prototype through assault on the image. Iconophile and iconoclast thinkers in the eighth century, for the first time, considered the image entirely as representation. A transformative moment in the discourse of images, it liberated the image from an emphasis on ontology to place it in an epistemological relation to its referent. The impulse to rethink the meanings of images emerged from debates within pre-Christian culture, between Christians and pagans, and between Christians, jews, and Muslims, deeply influencing the understanding of images in the later Middle Ages and the Reformation. Francesco Rosselli's Lost View of Rome: An Urban Icon and Its Progeny JESSICA MAIER 395 The defining image of the Eternal City for more than a century, Francesco Rosselli's monumental engraving of Rome (ca. 1485/87-90), now lost, was a milestone in urban representation. Rosselli's view embodied a new approach to depicting the city that emphasized physical resemblance while conveying a strong sense of urban identity.
    [Show full text]
  • ​Pierre Soulages: Outrenoir | NOWNESS
    1 " , D B @ ? L M ' 5 4 N ADD TO QUEUE / ADD TO PLAYLIST LOVE COMMENTS (0) C 3 CREDITS JanuaryART & DESIGN 20, 2015 Pierre Soulages: Outrenoir The French artist reflects on love and light at his Paris studio “I don’t work with black,” says Pierre Soulages, who, for over 60 years, has injected poetry into radical abstraction with paintings comprised of a single material, black paint. “I work with the light that reflects it.” Liberating his style from centuries of Western decorative painting traditions and drawing from prehistoric cave art, Soulages’ work is a pure celebration of the very essence of painting: the primal instinct to create, and the spiritual power of lines and movement. “Outrenoir is not an optical phenomenon,” says the 95-year-old French artist captured here at his Paris studio of the gleaming, luminescent quality of the work. “It’s a mental state that you reach when you look deep into it, it’s beyond black.” “I have never believed that painting is over. It belongs to human nature” B Last summer a museum dedicated to the paintings of Soulages opened in his birth- town of Rodez, a rusted steel shrine designed by Catalan architects RCR. The space houses 500 paintings donated from the archive of the artist and his wife Colette, the most complete display from his body of work to date, alongside a space open for up-and-coming artists to exhibit. Below, the abstract master reflects on the origins of painting and the source of his inspiration: How did you reach this mental state you describe, outrenoir? Pierre Soulages: When I was a teenager I realized that we are only taught the history of art of the last five or six centuries and that painting had existed for hundreds of centuries.
    [Show full text]
  • August 25, 2017 Pierre Soulages and Rodez
    August 25, 2017 Pierre Soulages and Rodez Interior, Musée Soulages Two prints by Pierre Soulages When not thinking abstractly about “there” and “not there” (blog Aug 21) I have also been exploring technical problems and challenges. I am working with a darker palette. James Fox's excellent TV series on Japan that ran earlier in the summer on the BBC hit a deep nerve with me. Already reeling from the Hokusai show at the British Museum (blog May 26) I was amazed by a reinvention of Japanese calligraphy, known as Shod , that Dr. Fox admired in the frenetic work of Tomoko Kawao. Her “dance” on a huge sheet of paper, moving as if in a Tai Chi form, with gargantuan paintbrush in handō dipped in black ink, inspired me to work with Indian Ink too. Then, a trip to Rodez, in the wild Aveyron, the birthplace of Pierre Soulages, and home to an extraordinary newish museum dedicated to his work, introduced me to another deep dark colour. My latest paintings are imbued with this new range of lights and darks. My most recent painting is called Shod and is a tribute to Soulages. ō Brou de Noix, made from the green outer casings of local walnut shells, is used for staining furniture and comes out of the bottle a rich, saturated brown. It is entirely natural. Soulages uses it in great expressionist sweeps, veils and swathes. His gestural, calligraphic work looks simultaneously as ancient as archaic text and as modern as New York colour field painting. Morris Louis, Mark Rothko and Barnett Newman come to mind as well as the scrolls of the anonymous creators of Egyptian papyri.
    [Show full text]
  • Museum Tv - Sotheby’S
    Monday, 5 October 2020 Press release MUSEUM TV - SOTHEBY’S WEDNESDAY, 21 OCTOBER 2020 MUSEUM TV TO LIVESTREAM SOTHEBY’S MODERNITÉS-CONTEMPORARY AUCTIONS IN PARIS AND LONDON In a ground-breaking move, on Wednesday, 21 October, Museum TV will Press contact broadcast Sotheby’s auctions of “Modernités” in Paris at 6pm (CEST) and Agence Communic’Art the Contemporary Art Evening sale in London at 8pm (CEST) direct from the Lindsey Williams saleroom. [email protected] Both segments of the auction will be live-streamed, enhanced with dynamic and +33 (0) 7 69 98 73 96 informative on-screen visuals for each of the works offered – an insight into the bidding and buying process on an elevated scale. The two prestigious sales are dedicated to the major artistic periods of the 20th and 21st centuries and will present artworks of the great masters working across Europe and beyond. “MODERNITÉS”, PARIS, 6PM (CEST). Picasso, Soulages, Picabia, Kandinsky... exceptional lots for an extraordinary evening. In Paris, the “Modernités” sale will be taken by Helena Newman, Chairman for Sotheby’s Europe & Worldwide Head of Impressionist and Modern Art. It will offer TELEVISION HISTORY a panorama of artistic creation from 1900 to the Post-war period with works by FOR PARIS Pablo Picasso, Pierre Soulages, Francis Picabia and Wassily Kandinsky and will include a private collection of 25 rarely-seen works, with a total value of more The broadcast will take than 10 million euros / 12 million US Dollars. place live on Museum TV France and Museum Newman will take to the rostrum in the London ‘control centre’ studio, fielding TV International.
    [Show full text]
  • Hans HARTUNG APOLLO
    PRESSBOOK Hans HARTUNG APOLLO June 2016 1/1 Apollo magazine The International Art Magazine The fall and rise of the second school of Paris Emma Crichton-Miller 7 JUNE 2016 T 1949-4,1949 (1949), Hans Hartung. Courtesy Waddington Custot Galleries SHARE In the years following the Second World War, there were more than 350 artists working in Paris. They came from all over Europe and beyond, released from terror and drawn by the city’s enduring reputation as the centre of the Western art world. As this year’s anniversary exhibitions for Giacometti make clear, one response to the traumatic experiences of the war was to turn again to the human figure. Another was to pursue an abstraction freed, in the words of painter Georges Mathieu, from ‘rules, dogmas or canons of beauty’. While the nucleus of a second school of Paris had emerged under the occupation, it was in the maelstrom of post-war critical debate that a loose group of non-figurative artists, opposed to the geometric abstraction of the recent past, began to assert itself. Fluctuating alliances of artists explored work variously tagged ‘art informel’, ‘art autre’ or ‘tachisme’ – among them Maria Helena Vieira da Silva, Nicolas de Staël, Serge Poliakoff, Jean- Michel Atlan, Jean Fautrier, and Jean Dubuffet. Their aim was to define a distinctly European counterbalance to American Abstract Expressionism. In 1947, Mathieu mounted an exhibition of ‘lyrical abstraction’, with its emphasis on spontaneity, the performative gesture and the mark, which included Atlan, Jean-Paul Riopelle, Hans Hartung, and Wols. Gerard Schneider explored a lyricism allied to music, while Pierre Soulages declared ‘time and its relation to space’ to be central to his dark, striated paintings.
    [Show full text]
  • MODERN ART in YOUR LIFE and in the SUBURBS a Thesis Presented
    i MODERN ART IN YOUR LIFE AND IN THE SUBURBS A Thesis Presented to The Faculty of the School of Art University of Houston In Partial Fulfillment Of the Requirements for the Degree of Master of Arts in Art History By Lauren Greve May, 2016 ii MODERN ART IN YOUR LIFE AND IN THE SUBURBS An Abstract of a Thesis Presented to The Faculty of the School of Art University of Houston In Partial Fulfillment Of the Requirements for the Degree of Master of Arts in Art History By Lauren Greve May, 2016 ii ABSTRACT Modern Art in Your Life and Suburbia analyzes Life’s 1948 article “A Life Round Table on Modern Art.” My thesis specifically offers a new perspective of Life’s suburban utopia to previous art historical discussions about the relationship between Life magazine and its coverage of modern art. The article, as it appeared in Life, was a strange amalgam of Life’s ideals—tradition and stability on the one hand—that seemed oddly in conflict with the magazine’s discussion of avant-garde modern art. This thesis addresses how and why we see this discrepancy by paying close attention to the magazine’s advertisements that appealed to suburban life as well as readers’ negative responses to the article, a perspective that art historical scholarship has largely ignored. iv TABLE OF CONTENTS Introduction 1 Chapter 1 10 Chapter 2 28 Chapter 3 51 Conclusion 72 Appendix 79 Bibliography 104 Greve 1 Introduction On the weekend of June 11th, 1948, fifteen men—art historians and critics—gathered in the Museum of Modern Art’s penthouse to discuss modern paintings produced during the last forty years.
    [Show full text]
  • Paris Avant-Garde
    PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE | 9 OCTOBER 2020 PARIS AVANT-GARDE NOW AVAILABLE TO BROWSE ONLINE CHRISTIE’S 20th CENTURY: LONDON TO PARIS SERIES 22 OCTOBER 2020 AUCTION HIGHLIGHTS PIERRE SOULAGES, PEINTURE Pierre Soulages will be the highlight of the Paris Avant- Garde sale with a real masterpiece executed in 1961 and coming from the personal collection of Donald & Jean Stralem, two major American collectors who acquired the painting the same year of its execution. This important large-scale painting has never been seen on the market since its purchase in 1961. It is a great chance for international collectors to discover this masterpiece by the artist. The early 1960’s were decisive for Pierre Soulages. First, because he and his wife moved to Sète where his work evolved dramatically and second because Soulages gained in notoriety thanks to two major exhibitions organized in 1960. Peinture 162 x 130 cm, 9 juillet 1961, estimated at €6,000,000-8,000,000 is a real rediscovery for the art market. ZAO WOU-KI, 31.07.68 Christie’s will also present 31.07.68 by Zao Wou-Ki. This painting was realised by the artist a few years before his wife’s passing which brought him a lot of suffering. The artist materialized his torment on the canvas as seen here and it depicts the chaos inside of him. The genius of the painter, however, lies in his ability to transcend this intimate dimension. Zao Wou-Ki's revolution, which fuses the spontaneity of Western painting with the mastery of Chinese calligraphy, explores the expressive possibilities offered by abstraction and opens up a new world of representation.
    [Show full text]
  • 皮埃尔•苏拉奇pierre Soulages
    Peinture 102 x 165 cm, 17 juillet 2017, 2017. 布面丙烯 | Acrylic on canvas. 102 x 165 cm | 40 3/16 x 64 15/16 in. ©Pierre Soulages / ADAGP, Paris, 2019. 图片提供：艺术家与贝浩登 | Courtesy of the Artist & Perrotin 皮 埃 尔•苏 拉 奇 PIERRE SOULAGES 开幕：11 月 5 日（ 周 二 ） 4 - 7PM Opening Tuesday November 5 4 - 7PM 2019 年 11 月 5 日至 12 月 28 日 November 5 – December 28, 2019 贝浩登（上海）荣幸宣布在艺术家皮埃尔•苏拉奇百岁生日之际呈现其 Perrotin Shanghai is proud to present a solo exhibition of works by Pierre 个 展 。本 次 展 览 是 继 2014 年在纽约画廊及 2017 年在东京画廊之后 Soulages on the occasion of the artist’s 100th birthday. This exhibition is 第 三 次 与 贝 浩 登 的 合 作 。新 展 中 的 9 件作品来自艺术家创作于过去三 the third show presented by Perrotin in collaboration with the artist after New York in 2014 and Tokyo in 2017. This new exhibition brings together 9 年间的标志性“黑色之外”（Outrenoir）系 列 ，另 有 一 件 创 作 于 2010 年 works of his iconic Outrenoir series painted in the last 3 years, one painting 的绘画作品和一件来自 1986 年 的 名 作 。在 贝 浩 登（ 上 海 ）展 览 同 期 ， from 2010 and a masterpiece from 1986. Simultaneously to his exhibition 巴黎卢浮宫博物馆也将于著名的方厅（Salon Carré）呈 现 艺 术 家 个 展 。 at Perrotin Shanghai, the Musée du Louvre in Paris will dedicate a solo exhibition to the artist in the prestigious Salon Carré. 本次贝浩登（上海）的展览将展示苏拉奇“黑色之外”系列的多样性。从 The exhibition at Perrotin Shanghai shows the diversity of Soulages’s 20 世纪 40 年代到 70 年代期间，黑色逐渐占据了他书法般抽象作品的 Outrenoir paintings.
    [Show full text]
  • Béatrice Cordero Martin, Rennes
    Beatriz Cordero Martín, historienne d’art, Saint-Louis University, Madrid, Rennes, Archives de la critique d’art-INHA, 23 février 2018. SUBJECTIVITY, SPIRITUALITY, AND MODERN ART. JAMES JOHNSON SWEENEY’S VIEWS ON ABSTRACTION American art critic, curator and museum director James Johnson Sweeney (1900-1986) developed a particular vision on modern art through both his theorical work and his groundbreaking exhibitions. From his first curatorial projects in the mid-thirties to the directorship of the Guggenheim Museum in the fifties, his ideas contributed greatly to shape and expand a specific narration of modern art. At a time in which modern art was just beginning to be noticed in the United States, Sweeney was known for his special interest in young, innovative artists, those who he named the “tastebreakers”: artists who, according to Sweeney are “most often the vitally creative artist on whom the tastemaker of tomorrow will eventually batten”1. Sweeney’s expertise on young, pioneer artists, especially those working in Europe, led him to curate the first exhibitions of many European artists in the United States, such as Ferdinand Léger (MoMA and the Renaissance Society of Chicago, 1935) ; Joan Miró (MoMA, 1941) ; Robert Delaunay (Guggenheim Museum, 1955) ; André Derain (Museum of Fine Arts, Houston, 1961) ; Pierre Soulages (Museum of Fine Arts, Houston, 1966) or Eduardo Chillida (Museum of Fine Arts, Houston, 1966). Moreover, Sweeney wrote the catalogues of the first exhibitions in the United States of Theo van Doesburg (Art of This Century, 1947) and Antoni Tàpies (Martha Jackson Gallery, 1961), and also the first monograph of the Italian painter Alberto Burri in English (1955).
    [Show full text]